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Float 2013

Another Glacier

Peter Broderick – Another Glacier

April 1st will see Peter Broderick’s classic Erased Tapes debut Music For Falling From Trees reissued on vinyl and CD.

Through relentless touring and multiple album recordings, Portland-based Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs.  The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres. 

The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe. 

IN HIS OWN WORDS: “In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers. 

I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano. 

Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work. 

Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009

'Painfully young and unnervingly talented' 
– The Economist’s Intelligent Life

Buy CD/LP/DL

Peter Broderick – Part 4: The Dream

April 1st will see Peter Broderick’s classic Erased Tapes debut Music For Falling From Trees reissued on vinyl and CD.

Through relentless touring and multiple album recordings, Portland-based Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs.  The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres. 

The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe. 

IN HIS OWN WORDS: “In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers. 

I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano. 

Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work. 

Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009

'Painfully young and unnervingly talented' – The Economist’s Intelligent Life

Peter Broderick – Part 3: Pill Induced Slumber

Beth's Theme from Ólafur's BAFTA award winning score for Broadchurch. Available for streaming and download now:
 
iTunes: http://po.st/9zZVWg
Amazon: http://po.st/H0cObp
 
Ólafur Arnalds Facebook: http://po.st/uLhJkX
Ólafur Arnalds Twitter: http://po.st/LoLnTT

Broadchurch

Beth's Theme

24 Postcards In Full Colour

A Song For H / Far Away

The Blue Notebooks

Shadow Journal

Organum

H In New England

A collection of Max's recent filmscore work, together with some tracks from the albums which have recently been featured in various feature films.

IMPARDONNABLES / Andre Techine -This Little Life

ORDER the album 'Music for Confluence' on CD/LP/DL: www.erasedtapes.com/store/index/ERATP036 (vinyl edition out April 1, 2016)

ORDER the LTD. EDITION 7" incl. Digital 14-Track Bonus Score Release 'MUSIC FOR GRACE AND MERCY' or DOWNLOAD here:
http://erasedtapes.com/store/index/ERATP035

CONTEXT: New-Berliner Peter Broderick has established himself as a composer in his own right, may it be as a touring member in Efterklang, collaborating with label mates Nils Frahm and Dustin O’Halloran, or most recently, working on the Last Night soundtrack with Clint Mansell. His innate gift as a musical medium, picking up any instrument to turn his musings into songs, has won the 24-year old American composer many hearts worldwide.

‘A songwriter of beguiling depth' – The Sunday Times

'Painfully young and unnervingly talented' – The Economist’s Intelligent Life

‘A precociously talented, classically trained multi-instrumentalist’ – The Independent

Following on from his contemporary dance scores Music For Falling From Trees and Music For Congregation, November 28th, 2011 will see Broderick return with a brand new work released on Erased Tapes Records, entitled Music For Confluence. Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions.

The release of Music For Confluence will be preceded by the double A-side single Old Time / Solace In Gala on November 7th and includes an exclusive digital 14-track bonus score entitled Music For Grace And Mercy – a film of Haitians helping Haitians.

The official Old Time music video can be watched here: http://vimeo.com/erasedtapes/peter-broderick-old-time
The official Confluence trailer can be watched here:  http://vimeo.com/erasedtapes/confluence
The official Grace And Mercy trailer can be watched here:  http://vimeo.com/13145302

Erased Tapes Collection IV

Peter Broderick – Old Time

Live recording of Jóhann Jóhannsson performing on KCRW's Morning Becomes Eclectic (2/7/12)  

Hear/Watch the full session in the archives here:  http://www.kcrw.com/music/programs/mb/mb120207johann_johannsson

Jóhann Jóhannsson - Odi et Amo (Live on KCRW)

Live recording of Jóhann Jóhannsson performing on KCRW's Morning Becomes Eclectic (2/7/12)

Hear/Watch the full session in the archives here:  http://www.kcrw.com/music/programs/mb/mb120207johann_johannsson


Jóhann Jóhannsson - Joi and Karen (Live on KCRW)

'"Everything Must Change" creates a menacing atmosphere from violin plucks, synth stabs, and a heavy hip-hop drum break. You don't need the story or the visual to feel the tension in it' – Pitchfork

'In a perfect world, Erased Tapes would be the new Sub Pop, a pioneer becoming a prescriber, unavoidable and historic. 'Everything Must Change' is a prefiguration of a perfect world, where modern classic from Erased Tapes would be the norm. A really seducing fantasy…' – La Blogotheque

ORDER it on CD/Vinyl/Digital now from: http://erasedtapes.com/store/index/ERATP038

PRESS RELEASE:

Icelandic composer Ólafur Arnalds set to release his first Hollywood film score.

Ólafur Arnalds’ original motion picture soundtrack for Sam Levinson’s feature film debut ‘Another Happy Day’, starring Ellen Barkin and Demi Moore, will see a worldwide release via UK modern classical label Erased Tapes Records on February 27, 2012.

IN HIS OWN WORDS: 

‘In mid-December 2010 I was on a holiday in China when I received an email from Sam Levinson about the film. We got on the phone at like 4 in the morning Beijing time and ended up talking all through the night, instantly connecting. He told me that they had been listening to my music while making the film, so the film was already very influenced by my music. However, it was not until Ellen Barkin – the beautiful force that she is – had pestered the producers for a week, calling them every day about how I am the right one for this film, that they finally gave in. The only catch was that it had to be done two weeks later, in the first week of January. So I ended up scoring nonstop all throughout Christmas, making my mother mad in the process.’ - Ólafur Arnalds

CONTEXT:

Born in the suburban Icelandic town of Mosfellsbær, a few kilometres outside of Reykjavík, the 24-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. Through relentless touring and determination this young artist has steadily gained recognition worldwide and continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements.

'The indie kid who knows the score’ – Guardian’s Observer

'An artist who can exert power with the lightest of touches’ – BBC Music


TRACK LISTING:  

1. The Land Of Nod  2. Through The Screen  3. Before The Calm  4. Lynn's Theme  5. Alice Enters  6. The Wait  7. A Family Stroll  8. Poland  9. Out To Sea  10. Autumn Day  11. Everything Must Change

OFFICIAL WEBSITES:

OLAFURARNALDS.COM
ERASEDTAPES.COM

Another Happy Day (Original Motion Picture Soundtrack)

Everything Must Change

Buy LP/CD/DL

Ólafur Arnalds - Everything Must Change

Beach II

Tu non mi perderai mai

ÓLAFUR ARNALDS & NILS FRAHM - 'a2' from their forthcoming collaborative EP 'STARE'.

ORDER the Ltd. Edition 10" Vinyl/Download HERE and receive an Erased Tapes 5th Anniversary sticker with it:
http://www.erasedtapes.com/store/index/ERATP042

'A hazy slow-builder that sits nicely equidistant between Arnalds’ solo work and his excellent Kiasmos project' – The Line Of Best Fit

CONTENT

Erased Tapes label mates Ólafur Arnalds and Nils Frahm record and mix their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.

The ambient/electronic work ‘Stare’ is a true family effort from Ólafur Arnalds and Nils Frahm with Anne Müller joining in on cello and all graphics by close label-friend and now in-house designer Torsten Posselt of Feld Studios.

This release will be strictly limited and exclusively available on Record Store Day 2012, April 21st. Coinciding with the 5th Anniversary of Erased Tapes, it’s also available from the official Erased Tapes online store and sure to become a must-have for fans of the label and these two artists.


CONTEXT

Words by Nils Frahm: 
‘I heard ‘Eulogy For Evolution’ for the first time 6 years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set. 

All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for ‘b1’. Making music together with people is lovely! 
 
The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October to repeat the trick and record some out of this world ambient music. It didn't take us too long to write ‘a1’ and ‘a2’.  I can’t wait for the follow up!’

Words by Olafur Arnalds:
 ‘After having toured together and having had many inspiring late night conversations, I decided to visit Nils in his Durton Studio in Berlin for a weekend. We didn't have anything specific in mind, we just wanted to hang out, jam and eat some falafel. That's what we did, but somehow we also made 25 minutes of ambient bliss that weekend. 

After that we quickly decided we had to do the same in my studio in Iceland. Just hang out for a weekend and possibly make some music. So the album became kind of an Iceland vs. Berlin thing. I think you can hear it very well in the sound (side a vs. side b) and that is the most interesting thing about this record for me: that subtle but significant different in the characteristics of the music two people made in Iceland against what the same two people made in Germany. 

I'm not sure why we decided to keep it secret, it just happened. But it sure was fun! I remember a party at Robert's (Erased Tapes founder) flat in Berlin, where me and Nils stood in the corner the whole night whispering about the project. We then delivered the fully mastered record with finished artwork to Robert around the 5th anniversary of the label. It would have been nice to be there to see his face…"

The live video of Nils and Ólafur’s spontaneous improv live set in Berlin last summer won them many fans since, including UK electronic music producer Max Cooper who is now remixing two of his “absolute favourite artists”. Nils and Ólafur will be touring together throughout Europe this spring.

You can watch it here: http://vimeo.com/28631568
 


LABEL: ERASED TAPES RECORDS    UK RELEASE DATE: APRIL 21, 2012
CAT.NO: ERATP042 EP/DL   EAN: 4050486068137

TRACK LISTING:  1. a1  2. a2  3. b1

OFFICIAL WEBSITES:   OLAFURARNALDS.COM   DURTONSTUDIO.COM   ERASEDTAPES.COM 

Stare

Ólafur Arnalds & Nils Frahm - a2

I took a short vacation break in Berlin and my good friend Peter Broderick was so nice to let me stay in his apartment. We stayed in on Friday night because of the rain, pressed record and started improvising... Here is a short excerpt.

Oli+Peter. July 6th improvisation

Broderick released his first score ‘Music for Falling From Trees’ on Erased Tapes in 2009. Created for a contemporary dance by London-based choreographer Adrienne Hart (Neon Productions), the 30-minute piece in seven sections received much acclaim, both for its emotive and fitting accompaniment to Hart’s choreography and for its ability to work as a self–contained release.

‘Beautiful, minimal and bewitching’ – Mojo | 'The work of a master composer' – Drowned In Sound

The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. Adrienne was looking for a score of piano and strings, so he left the guitar and his voice aside and focused entirely on those two timbres. ‘I decided to take this literally and make a rule not to use any other instrument. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails.’

Falling From Trees toured this year’s UK summer festivals Glastonbury and Edinburgh Fringe.

‘This show is an outstanding example of all the strands coming together in an exciting and satisfying whole – great music from Peter Broderick, intriguing and visceral video projections tied together aptly with Adrienne Hart’s choreography’ **** – The Skinny

In early 2010 Peter Broderick was approached by the collaborative media artist duo Kit Monkman and Tom Wexler aka KMA, who asked him to create a score for Congregation, KMA’s most ambitious work to date. The world’s first ever ballet designed, choreographed and composed entirely for pedestrian performers, Congregation has been commissioned by Scan and the British Council. Due to premiere simultaneously at Rockbund Art Museum, Shanghai as part of World Expo and Bournemouth for the Inside Out Festival, further performances will follow at Tate Britain London this autumn.

To coincide with both KMA’s and Peter Broderick’s string of live performances, Erased Tapes will release a highly limited double 10” gatefold vinyl edition on October 18. Featuring both Music for Falling From Trees and Music for Congregation under the collective title Music for Contemporary Dance, this release will further demonstrate that this young artist at the cusp of his career has already emerged as a composer in his own right.

'Painfully young and unnervingly talented' – The Economist’s Intelligent Life

‘A songwriter of beguiling depth' – The Sunday Times

‘A precociously talented, classically trained multi-instrumentalist’ – The Independent

Music For Congregation

Peter Broderick – Part 2: Understanding

from my new album, For Now I am Winter. Out now!

Amazon: http://smarturl.it/OAamazon
iTunes: smarturl.it/OAiTunes 

For Now I Am Winter

A Stutter (feat. Arnór Dan)

Another Happy Day, by Sam Levinson (featuring Ellen Barkin, Ellen Burstyn, Demi Moore...) is premiering at Sundance Festival this weekend! This is a little sample of the music I did for the film. This song is from what is in my opinion one of the strongest moments in the film.
http://sundance.slated.com/2011/films/untitledsamlevinsonproject_sundance2011
Gotta pack my boots and hat now. I hear it's cold out there in Utah...


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